SynopsisShawn (Nicholas D’Agosto) and Nick (Eric Christian Olsen) are top scorers on the Ford High School football team… both on and off the field. When they hatch a scheme to trade their footballs for pom poms and join the school’s most beautiful girls at cheer camp, the new team members actually give the girls’ historically awful cheer squad a chance at success. And when Shawn falls for the head cheerleader (Sarah Roemer), the boys must learn some new moves and unleash their inner spirit to prove their intentions before the all-important cheer competition finals.

The staff of IGN visits The Watchmen’s set and they have some good stuff.

All it takes is the most cursory stroll through the “brownstone” belonging to Dan Dreiberg (a.k.a. Nite Owl II) to realize that something special is happening on the set of Watchmen.

Everywhere you look there’s some new, telling detail in the environment of the reluctantly retired, slightly gone-to-seed superhero. Owlish and avian-themed tchokes dominate in the form of clocks, bookends, statuettes and other objects d’art, suggesting that Dreiberg’s costumed alter ego is never far from his mind. Framed photographs and old news clipping line his mantle – not just snapshots of his own adventuring as Nite-Owl, but nostalgic black and white glimpses of the very first superheroes, the Minutemen, that evoke Dreiberg’s enduring nostalgia.

And next to his reading chair sits a stack of 1985 comic books, authentic to the story’s era, indicating that fantasy and escapism is never more than an arm’s reach away.

Of course, when Watchmen – the ultimate post-modern take on the superhero phenomenon based on the 1986 comic book miniseries by writer Alan Moore and artist Dave Gibbons, which was named by Time magazine as one of the 100 best novels from 1923 to the present – finally makes its long trek from printed page to the big screen, only a handful of these minute details may get a few seconds of screen time.

But showing off every nuance in the detail-drenched environment isn’t what director Zack Snyder (300) has in mind. Instead, he’s chosen to soak his set in tiny but evocative minutiae simply because it adds that much more atmosphere to the proceedings – if audiences happen to catch a glimpse in repeated viewings, the same way similar details revealed themselves to readers exploring the book a second, third, tenth time, he’s just fine with that.

“In this movie there’s so much stuff to photograph, whether it be a button or a Gunga Diner container,” says Snyder, who considers himself just one of the cult of Watchmen worshippers hungry to see the comic book’s world fully realized. “Everything has fetish relevance.”

SynopsisCelebrity photographer Connor Mead loves freedom, fun and women…in that order. A committed bachelor who thinks nothing of breaking up with multiple women on a conference call, Connor’s mockery of romance proves a real buzz-kill for his kid brother, Paul, and a houseful of well wishers on the eve of Paul’s wedding. Just when it looks like Connor may single-handedly ruin the wedding, he is visited by the ghosts of his former jilted girlfriends, who take him on a revealing and hilarious odyssey through his failed relationships–past, present and future. Together they attempt to find out what turned Connor into such an insensitive jerk and whether there is still hope for him to find true love…or if he really is the lost cause everyone thinks he is.

SynopsisIn “The Taking of Pelham 1 2 3,” Denzel Washington stars as New York City subway dispatcher Walter Garber, whose ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway train. John Travolta stars as Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train’s passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. But there’s one riddle Garber can’t solve: even if the thieves get the money, how can they possibly escape?

Danny Boyle discusses directing his critically acclaimed new film Slumdog Millionaire, the rags-to-riches tale of an orphan’s efforts to win back his lost love by appearing on the Indian Who Wants to be a Millionaire?.

IGN: When you initially heard about the project, were you put off by the Who Wants to be a Millionaire hook?

Danny Boyle: They didn’t really pitch it. I don’t think the agent was very interested, he said “It’s a film about Who Wants to be a Millionaire?.” But it was written by Simon Beaufoy, who had written The Full Monty, so you have to read a bit of that, at least, but I didn’t want to make a film about a gameshow. But they didn’t mention it was set in India, and they certainly didn’t mention the way the gameshow was used in the story, so I was in after about 10 or 15 pages of it. I remember thinking, this is it!

And it’s weird, it only happens occasionally that you get kidnapped by a script. You don’t wait till you get to the end or anything, you can feel it happening to you. And when I look back at my decision, it’s not based on the full story – the unravelling of why he’s on the show – so I think it’s based on the city. It’s the set-up – meeting the kid, seeing him on the show, seeing him in the slum, and the city – those ingredients made me do it.

IGN: What was it like shooting in the city – did you feel out of your comfort zone?

Boyle: Yes, absolutely. But you do it for that reason, because your comfort zone is not a good place to make a film in, in my opinion. You should get out of your comfort zone as much as possible, you shouldn’t have a clue what you’re doing, ideally, and yet be able to make sense of it somehow. That’s the kind of equation you want.

With a film in India, you have to hire people. I made a mistake on The Beach. I took hundreds of people from here who knew how to do it theoretically, and it’s not the right way to do those films, especially nowadays. You have to try and build a film from the inside. So we took virtually no one, and got a Bollywood crew. They are the people to deal with, and they are the people that make the film feel like it starts to belong. Now it doesn’t quite belong there, because the culture is different, and there is a Britishness about the film – I think its realism – that gives it its British flavour.

Because our bedrock, mine and Simon’s, is always realism. That’s what we start with. That’s how we judge everthing – do you believe that person would be doing that job at that moment? You judge everything like that as a British director – that’s the culture we come out of. But then it kind of moves on and picks up more of the culture of Bombay, which is coincidence; which is melodrama; which is this extraordinary passion for life; which is violence and beauty at one and the same time.

IGN: Did you have to be careful of striking a balance between plundering the culture, and yet remaining respectful towards it?

Boyle: Yes, and you have to work your way through that, it’s a really good way of putting it. Because you are an outsider, and you’ve really got to get people to trust you, and you have to build that trust over a long period of time as you prepare. There are certain key people that you make that relationship with and they basically become your co-directors.

And I can only credit one as co-director, which is the casting director Loveleen Tanden, because the first assistant director, for Guild reasons, you can’t credit him as the co-director, nor the sound guy, but those three people made the biggest difference for the film. Normally, it’s your cinematographer, or your designer, or your lead actor, or your writer – that key relationship. But for me on this one it was those three people, local people on the crew from Bombay.

Check out the The Watchmen launch center on IGN.com. You can watch the countdown clock, get updates and more. Go to our store to purchase the The Watchmen movie posters. We have original one sheets and prints. Sign in to the store to see them all (a lot were added early this morning so the html links haven’t generated yet). We will also be getting a rare, hard to find one sheet (due within a few days).

When news of a Friday the 13th remake hit the Internet, there was a massive outcry from genre fans. One contingent wanted to preserve the integrity of the old series, while the other asked, “Why does the world need another Jason movie?” The truth of the matter is, Friday the 13th needed a remake more than any other existing horror franchise. Although Jason Voorhees is an iconic horror figure, the previous 11 films never settled on one specific identity for the character. Rather, each new creative team that tackled the character handled him differently, resulting in a dude with a serious identity crisis.

Fear not, however, as this “reboot” solidifies once and for all just who Jason is: a motivated killer with speed, strength, vision and a revenge streak that runs blackheart-deep. By firming up the details of his origin, establishing some supernatural elements (Hint: Jason is always really, really hard to kill.), and lending purpose to his body-mangling rampages, the film establishes firm ground for the character’s mythos and makes him much scarier as a result.

The team of producers Andrew Form and Brad Fuller and director Marcus Nispel, who combined to make the excellent Texas Chainsaw Massacre remake, know what it takes to modernize and distill an iconic series down to its key elements. Here, they hone the character but keep the dark, playful spirit of the originals. Fans will instantly recognize and settle into the tone — a wild, horrific ride that’s meant to entertain.

The film does a good job of compressing Jason’s mythology from the original four Friday the 13th films into a short time frame. Recapping/retelling the events of the original film takes no more than five minutes, and immediately audiences are clued into why Jason grows into a bloodthirsty creature of legend. He grows up quick and by the time the opening credits roll, he has already decimated one group of campers with his trademark machete. As the film progresses, we get a much deeper sense of the Jason character. He has created a lair of sorts and lives off the land. This is a much craftier Jason and much more human, which helps to ground the story.

Synopsis:In the glamorous world of New York City, Rebecca Bloomwood (Isla Fisher) is a fun-loving girl who is really good at shopping – a little too good, perhaps. She dreams of working for her favorite fashion magazine, but can’t quite get her foot in the door – until ironically, she snags a job as an advice columnist for a financial magazine published by the same company. As her dreams are finally coming true, she goes to ever more hilarious and extreme efforts to keep her past from ruining her future.

Synopsis:Interpol Agent Louis Salinger (Clive Owen) and Manhattan Assistant District Attorney Eleanor Whitman (Naomi Watts) are determined to bring to justice one of the world’s most powerful banks. Uncovering myriad and reprehensible illegal activities, Salinger and Whitman follow the money from Berlin to Milan to New York to Istanbul. Finding themselves in a high-stakes chase across the globe, their relentless tenacity puts their own lives at risk as their targets will stop at nothing — even murder — to continue financing terror and war.

Based on the DC Comics graphic novel by Alan Moore and Dave Gibbons. A complex, multi-layered mystery adventure, Watchmen is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the “Doomsday Clock” – which charts the USA’s tension with the Soviet Union – is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed-up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion – a ragtag group of retired superheroes, only one of whom has true powers – Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity…but who is watching the watchmen?

The team behind the global phenomenon “The Da Vinci Code” returns for the highly anticipated “Angels & Demons,” based upon the bestselling novel by Dan Brown. Tom Hanks reprises his role as Harvard religious expert Robert Langdon, who once again finds that forces with ancient roots are willing to stop at nothing, even murder, to advance their goals. Ron Howard again directs the film, which is produced by Brian Grazer, Ron Howard, and John Calley. The screenplay is by David Koepp and Akiva Goldsman.

When Langdon discovers evidence of the resurgence of an ancient secret brotherhood known as the Illuminati – the most powerful underground organization in history – he also faces a deadly threat to the existence of the secret organization’s most despised enemy: the Catholic Church. When Langdon learns that the clock is ticking on an unstoppable Illuminati time bomb, he jets to Rome, where he joins forces with Vittoria Vetra, a beautiful and enigmatic Italian scientist. Embarking on a nonstop, action-packed hunt through sealed crypts, dangerous catacombs, deserted cathedrals, and even to the heart of the most secretive vault on earth, Langdon and Vetra will follow a 400-year-old trail of ancient symbols that mark the Vatican’s only hope for survival.